Ankyra: Ankara Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 2009

Transkript

Ankyra: Ankara Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 2012, 3(2) DOI: 10.1501/sbeder_0000000045
BELGESEL FİLM YOLUYLA TARİHİ BELGELEME
Prof. Dr. Sedat CERECİ
Batman Üniversitesi Güzel Sanatlar Fakültesi
Öz
Pek çok tarihsel birikim belgesel film aracılığıyla, zamanın aşındırıcı etkisine larşı kayıt altına alınmıştır. Belgesel film
tarihsel bırakıtı ve geleneksel değerleri zamana karşı belgelemekte ve onları geleceğe aktarmaktadır.
Robert Flaherty 1922 yılında “Nanook of the North”u çektiğinden bu yana, toplumsal yaşam, gelenekler, savaşlar,
sanat yapıtları, tarihsel kalıntılar ve belgeler, yapılar, anıtlar, törenler, yabanıl doğa, hayvanlar, bitkiler ve insanla ilgili
binlerce belgesel film çekilmiştir. Belgesel film her zaman, tarihsel bir rol olarak insanların birikimlerini belgelemiş,
insanlığın büyük birikimini geleceğe yönlendirmiştir.
Anahtar sözcükler: Belgesel film  tarih, belgeleme  belge  birikim
DOCUMENTATION of HISTORY via DOCUMENTARY FILM
Abstract
This research examines relationship between documentary film and history and evaluates role of documentary film
about recording history. In 1977, director Suha ARIN shot a documentary film, “Time in Safranbolu” in a historical
place that is famous for its traditional houses and famous for its historical objects in Anatolia in Turkey. The director
devoted his film for history of people and remind people their history, and their valuable accumulations via his film
and recorded all historical heritage on his film. Many historical accumulation can be chained via documentary film
against destruction of time.
Thousands of documentary films have been shot about social life, traditions, wars and art works, about historical
remains and documents, about buildings, monuments and ceremonies, about wild nature, animals and plants and
about human since Robert Flaherty shot “The Nanook of the North” in 1922. Documentary film always documents
accumulation of people who tried to constitute a civilization since the beginning and as a historical role, documentary
film conveys great accumulation of humanity to next.
Key words: Documentary film  history  documentation  document  accumulation
Introduction
To watch historical places or to watch ancient objects excite some people, because they can
find some impacts about their lives and about their pasts in film. Past is valuable for all because
past is a base to constitute future and a connection that connect people to life. History always
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Cereci, Belgesel Film Yoluyla Tarihi Belgeleme
attracts people because of its humanistic impact which is a vital energy for people and people
want to record this energy and try all ways to record their accumulation and their history.
Within a film, an actor plays a particular kind of character, with a particular background, and
these evoke history of people via atmosphere of film (Riis, 2004, 12). Every film utilizes history to
tell its topic and convey its message to people and it absolutely adheres accumulation of people.
Among film genres, documentary film mostly reveals history of people because of its quality and
it constitutes new projects on base of history.
“Starting in the late 1980s, Hollywood studios began releasing several films designed to
revise Americans’ understanding of that decade’s history and politics” (Grady, 2003: 41). Cinema
products or television programs have frequently told many themes from history and still tell but
all they are fiction productions. Despite they are fiction, they document important values and
they remind people past and they tell usable stories from history. The spectator mostly think
that they watch realistic images even in a fiction film because of they want to watch realities.
Those who want to set their life and their future on a sound base are fed by history.
“Historical realism –an effect of the indexical quality of the photographic image and
conventions of documentary form – finds its most forceful expression in the opening newsreel
footage that begins the film. The clinical nature of the camera’s gaze, or stare is profoundly
disconcerting” (Nichols, 1987: 13). Documentary film took a more startling and more effective
inspiration from history.
Photographs –and certainly films- can be sources of information in ways that paintings
cannot. What holds of photographs in this regard holds also of cinematic images made by
photographic means. An ideal documentary film is a filmically sustained narrative the
constitutive film images of which represent only photographically; they represent only what they
are of. Use of documentary to apply to a whole film is therefore a rough and ready one, based
on a judgment that the film is preponderantly documentary (Currie, 1999: 291). Images of
documentary film often tell stories of history.
“Turkish people noticed and became aware of their traditional values and considered to
protect them after a director, Suha ARIN shot the documentary, “Time in Safranbolu” in Turkey in
1977. A great number of protection projects, and restoration works were started especially in
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Safranbolu that is famous for its traditional houses and all over Turkey” (Cereci, 2007: 120).
Among apartment houses, Turkish people felt that they yearned for their traditional buildings
and understood the necessity of protection for their values. The sense of yearning past
transferred from the documentary to people. People were aware of importance of their past
which remained in history via a documentary film.
The documentary, “Time in Safranbolu” showed the spectator traditional Turkish houses,
with traditional objects in them and told about lives once inhabited those houses. The elements
of houses, rooms, walls, windows, ceilings, cupboards, doors and objects were presented so
attractive that people had a journey to another time in history and wanted to be there. They
yearned for even their grandparents with whom they had lived in traditional houses (Cereci,
2007; 120). The director showed them in documentary film via an esthetic way and reminded
the spectator their history. “Obviously, the snapshot quality of regulation newsreel journalism
tends to make actuality seem (in terms of formal significance) fragmentary, superficial, and even
trivial. So the documentary ideal of film technique is this; the aim of presenting formal wholes
above a minimum of factual significance, taking the alternate forms of narrative or, as in films of
scientific subject matter, logical exposition” (Tyler, 1949: 103). Technique of documentary film
based on documentation history that contains valuable accumulation of people.
Another documentary film, “Sweat of Felt” which was directed by Ertuğrul Karslıoğlu in
1988 tells a traditional handwork and craft in a great accumulation of people collected in past.
The documentary tells a handcraft in a historical process because of quality of the topic.
History does not cover only accumulation of people but also covers ways to future and
reminds people available methods to have a civilization. People are interested in history to learn
their roots and to know their identities. Film is a method to take people to their history and
show them historical documents.
“The origin of documentary film has long been settled. Louis Lumiere’s first films of 1895
demonsrated film’s capacity to document the world around us. Here, at the start of cinema, is
the birth of a documentary tradition” (Nichols, 2001: 584). Those who are interested in cinema
and television were aware of the importance of proving human life, and historical values and
how spectator enjoy and are fond of their traditions and their past. When they witnessed their
traditional values which they had left in their past, they yearned for them and were urged to
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protect them. People can resurrect their values and their valuables left in past by help of
documentary film. Documentary film reminds past and take people to their history in its
effective atmosphere. Values, things, events, art works, monuments, traditional rituals,
memories which were left in past are often main topics of documentary films (Cereci, 2007:
121).
“Not until 1970s did historians begin to take film seriously enough to begin producing
essays, books, and conferences on the topic. The first major work was a 1976 volume entitled The
Historian and Film, a collection of essay in which a group of mostly British academics examined
questions of how to use newsreels in the classroom or how to evaluate feature films as historical
evidence. Five years later came the publication of Feature Films as History, another group effort,
this one focusing an dramatic works, and more particularly on the question of how clusters of
films made in certain periods could serve as windows onto particular ideologies or climates of
opinion –anti Semitism in Europe, the Popular Front of the 1930s, or national consciousness in
Germany and France in the 1920s” (Rosenstone, 2002: 137).
When Robert Flaherty shot “The Nanook of The North” in North Pole in 1922, neither he
nor anybody else was aware of the characteristic of documentary film (Levin, 1971: 8).” If the
spectator glance at literature for a moment, they can observe the growth of a documentary
feeling not only in the naturalism of Zola and Flaubert, with its emphasis on environment and
contemporary actualite, but even in Tolstoy’s War and Peace, where the historical facts of the
Napoleonic war in Russia hover behind the fictitious narrative as a time-space entity virtually as
independent as though it were actual historic record” (Tyler, 1949: 107). Recording history was
aim of many artists and those who were aware of importance of history tried to have a way to
travel to history when they want.
One of the top-grossing films of 1950s, Ben Hur by William Wyler, was a historical film and
told a historical story from Roman Period in its original ambience (Jancovich, 2000: 83). Because
of its historical story, it could be watched most and be enjoyed much and won 11 Academy
Awards in 1959. Historical films are always laborious works but generally the most favorite
productions because of their enormous world they create in their set. They recreate past with
their meaningful senses and convey many clues from past to future through historical
accumulations. Past usually means the great secret of their lives for many people.
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Another historical film, Julius Caesar was shot in a historical atmosphere too, but John
Houseman, the producer of the film had many difficulties about setting a historical atmosphere.
He often worried about buildings and about Roman costumes and other things to convey the
atmosphere of the story correctly to audience during shooting (Pasinetti, 1953: 133). Fiction
films always have worries about setting correct atmosphere that the spectator can understand
story and about taking the spectator to history with their instruments. But documentary film
works with documents and proves documents directly.
People tried to document components of life in different ways since the beginning because
of importance of documentation and develop contemporary techniques to document everything
what they lived. They often felt to watch accumulation of past to solve their problems and to
arrive at their aims and they stood advices of past.
Turkish author Sabahattin Ali tells the story of a few friends who try to build a glass maison
in his tale book, Glass Maison. The author influences readers via adventure of heros in the story
and causes a sensitive atmosphere. In spite of he does not tell realities, he tells a story, readers
are affected and become sensitive. He makes readers affected via his tale. People are affected
and think their lives and yearn for their past after reading a tale (Ali, 2008: 139). It is poossible to
take people to their past, to world of history via a tale too.
Turkish historian Ilber Ortaylı tells about traditional Turkish houses in his history book,
Pages from Istanbul. He describes wooden Turkish houses in detail and mentions about life in
those houses and tells people who lived in the houses. He makes readers affected by telling
traditional Turkish houses with his documents too. People become affected and yearn for their
past when historian Ortaylı proves documents about history too (Ortaylı, 2007: 39). He recreates
past via historical documents in his books.
Role of Documentary Film on History
Documentary film is a kind of nonfiction film. Fiction film forms an imaginary story which
can be inspired by reality or can not be. Documentary film directly tells realities of life and never
imagine. It is produced in realistic images and in a realistic approach but artistic.
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Visual materials like photographs or films document lives of people and accumulations of
people and remind them their past with its values (Erkılıç, 2008, 75). Photographs and films
record the reality of life and convey them to other eras of future.
Documentary film is another way to recreate past and remind history in its scientific and
artistic method and one of unique way to document historical accumulation. Documentary film
also envolves deep sense to take its spectator to its realistic world is full of past and affects the
spectator by proving realities. In the documentary film, Time in Safranbolu, director Suha Arın
proved a deeply sense atmosphere via traditional buildings and he took the spectator to a period
of their past in which they yearned for many things. History was recreated in the film by the help
of director’s effort and of historical objects and values.
Suha Arın mostly studied on historical and traditional topics in his films likewise in the
documentary film During the World Remaining which was about the Works of Sinan the
Architect or in the documentary film Suleymaniye. He was too respronsive director about values
of Turkish people and historical and traditional heritage of Turkey. It is possible to say that Suha
Arın was a nostalgia director. He addressed nostalgic sense of the spectator in his many films and
because of this he was admired much. Suha Arın is known as the director of historical topics in
Turkey. In a way, he knew that documentary film was a way to protect history.
“In the movie White Nights, directed by Taylor Hackford in 1985, Baryshnikov played a
famous Russian dancer who has defected to the United States and who, due to a plane crash,
finds himself back in the Soviet Union, where he has been deemed a criminal, What Baryshnikov’s
character discovers, upon attempting to get word to friends who will help him escape, is that the
younger generation has not been tool of his existence: “You were never told that I existed”.
History, in White Nights, is advanced as a concept at may be manipulated by an ideology; and
those who withdraw their support for an ideology risk being erased, for future generations, from
the version of history it expounds” (Houston and Tobey, 2001: 15). Past can be used in different
ways to tell people realities.
In Mirror of the Past the classic elegance of “eighteenth century life” is recaptured in a film
visit to the reconstructed first capitol of North Carolina, Tryon Palace. There is shown Governor
Tryon and his family in their daily activities amid the business and pleasures of colonial life.
There are also close up details of fine crystal, china, paintings, objects d’art. The nature of the
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film is, of course, historical (Oettinger, 1965: 59). History one of most available areas for
documentary film because of its countless datas and because of close dimension for people.
“Cinematography is a good model for the entire process of making a movie. It’s constant
barrage of choices to make, each choice creating and defining the next. Cinematography is the
art of balancing elements-light and shadow, contrast, focal lenght, f-stop, depth-of-field,
composition, focus and camera movement, color, diffussion –all of which affect each other and
affect the story the image tells. Add to the pressures of time and money and nature and you’ve
got a juggler with dozens of variables flying through the air all the same time” (Sayles, 1987: 71).
Documentary film also involves these, but it tells its real stories by using a nonfiction way.
To use nonfiction way involves to work on realistic documents and tell realities with
documents. This is way of documentary film whose content consists documents. Documentary
film is the most artistic way to document realities of life and history in documentation ways.
“Baraka” is a special film which was directed by Ron Fricke in 1992 tells life in a natural way and
tells accumulation of past. In film, without words, cameras show us the world, with an emphasis
not on "where," but on "what's there." It begins with morning, natural landscapes and people at
prayer: volcanoes, water falls, veldts, and forests; several hundred monks do a monkey chant.
Indigenous peoples apply body paint; whole villages dance. The film moves to destruction of
nature via logging, blasting, and strip mining. Images of poverty, rapid urban life, and factories
give
way
to
war,
concentration
camps,
and
mass
graves
(Stroyline,
http://www.imdb.com/title/tt0103767/ , 26.03.2012).
Man is a great process himself with his experiences and with his accumulation, and with his
culture, and with his past which contains all history of mankind. Cultural images tells many
stories and teaches many knowledges about man and present man to others like an identity
(Türkoğlu, 2003, 96). Documentary film often uses history of man because of its colorful and
interesting images.
According to Elizabeth LeCompte, the only thing to do is to mythologize his own past work
in his present writing and hope that it will stand for history. It probably will. History belongs to
those who write it down (LeCompte, 1981: 53). Whoever writes history, it always attract people
for their future. Modern techniques provide competent ways to write history like film
techniques.
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“Late in 1908, a court case raised the question of the role of the film as historical expression.
In challenging the legality of a judgment against exhibiting The James Boys in Missouri and Night
Riders under the terms of the Chicago
Censor Ordinance of 1907, exhibitor Jake Block made
what was taken as a rather surprising claim: The films, he asserted, were based on the “American
historical experience” and thus could not be challenged on the grounds of immorality and
obscenity inscribed in the ordinance. The lawyers for Block made a complicated conceptual move
here: They sought to blur the porous borders separating fiction from history so that films would
be included in the category of history, which, as nonfictional discourse, was, it was claimed,
divorced from the category of the immoral” (Grieveson, 2004: 119). The film stills assignment
helps us conduct research into a range of problem occupying the cinema studies discipline,
including identity, the relation of language to images, the shift from alphabetic to cinematic
technologies (Mauer, 2001: 98). Images in films are main materials of a film and images are
adequate to document realities, especially remains of history.
““Slavery and the Making of America” is the best ambitious nonfiction film ever attempted
on the subject according to Allen Barra. Someone can see a world that have never been seen
before, a world so dependent on the economy of slavery that the dollar value of black human
property was greater than the dollar of all the country’s banks, railroads, and manufacturing.
Above all, he is going to be reminded that America was a slave country longer than it has been a
free country and that the legacy of slavery is still very much with the people” (Barra, 2005: 68).
Documents in a film teach people story of history and make people to realize details of life.
People live in a mixture life and use an essential culture which has colored parts and
fascinating images. In a way culture means identity of a society who has a great past. Identity
contains all experiences and minings of a society and leads them to future (Özkan, 2008, 278).
Documentary film can documents all experiences and accumulation of people in artistic images.
Realizing details provide people to live in safety and take people to future easily.
Civilizations are constituted on some humanistic approaches that are related with humanism
and with opinions about future. People always need to know humanistic and futuristic opinions
to move to future. Documentation is way to learn requirements of people. Documentary film is
is a way of documentation. Its full of document content provides people to evaluate life and
human correctly and constitutes a bridge between past and future.
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One genre of documentary film is historical documentary that aims to illuminates history
directly and to convey data from history for people who need experiences of history (Cereci,
2007: 28). Historical documentaries naturally recreate past and evaluate past by proving
meaning of past. Past is settled in history in a meaningful arrangement and includes all
accumulations of people since the beginning
Past can be used to have an available life and safe future because of its useful
accumulation. “Five reasons for going or looking back dominate time-travel literature explaining
the past, searching for a golden age enjoying the exotic, reaping the rewards of temporal
displacement and foreknowledge, and refashioning life by changing the past” (Staiger, 2004:
126). Writing time-travel literature is a very important political art. How people comprehend the
past affects their sense of remembering it. Comprehending and remembering affect, as well as
actions, shape the future (Staiger, 2004: 129). Documentary film is a very available instrument
for it.
“Dingjun Mountain is a documentary staging of a famous Peking opera; Zhuang Tests His
Wife is derived from a popular Cantonese opera with the same title. These records show us that
regional and national opera was use to embark on a process of signification in the earliest days
of Chinese-language film” (Yueh-yu, 2002: 83). Likewise documentary film derives its topics from
history, and from national past, and from past of world (Cereci, 2007: 121).
The appearance of documentary involves the combination of three preexisting elements –
photographic realism, narrative structure, and modernist fragmentation- along with a new
emphasis on the rhetoric of social persuasion. This combination of elements itself became a
source of contention. “A nonfiction film can remind past and recreate past in a contemporary
atmosphere. In its most extensive sense, a nonfiction film is any film not fictional, for example,
instructional films, advertisements, corporate films, or historical or biographical documentaries”
(Planting, 2005: 106). It is a film but it recreates not only past but changes opinions and realities.
It creates new feelings by showing past and lost values.
“Documentary was considered as a creative production of realities as John Grierson
described it” (Barsam, 1973: 8). Although documentary is directly concerned with truth,
correlation between documentary and imaginations was explained through its pictures. It was
concluded that the aim of shooting a documentary was directly concerned with senses of
human.
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There are a lot of elements in past, concerned with present, and there are many historical
topics to form present in history of people. Some directors often take theme of film towards
past to persuade the spectator about value of life. “Director sometimes uses flash back method,
or historical characters or places, or sometimes resorts to a traditional ritual in theme” (Sayles,
198: 21). Reminding past is usually a current way to influence the spectator and history is the
most available area to use.
Anyone has an interest to past because of his background and because of his roots and he
mostly can find his identity in past. A recorded past means history and history is a requirement
that provides facilities for people. History provides people not only past but also evaluation of
past and provides people to understand how accumulation of history was obtained.
Social mission of a film is telling past of people on historical documents and to tell people
about their culture to know themselves and to present themselves in international area. Films
and television productions are instruments to tell about magnanimity of man in his history and
to tell great past of man. Because past of man is full of magnanimity examples (Köksalan, 2010,
63).
Past has been the source of many arts, trends and methods in history like in Italy. Yearning
also existed in the very basis of Europe being recreated at the beginning of the fifteenth century.
“Brunellechi’s idea had been to introduce the forms of classical buildings, the columns, pediments
and cornices which he had copied from Roman ruins. His idea was to apply styles of traditional
houses and palaces to new buildings” (Gombrich, 2004: 249). He expected to build what he and
other people yearned for in their past, and that’s why Brunellechi directly used history for his
works.
History contains all accumulation of past and productions people, so it provides materials
for all spiritual and artistic works. In a way, history means spiritual accumulation of people and
an evaluation of people works. In this sense, it is an analysis between beginning and expiration.
Documentary film is interested in all content of history.
“The documentary term was first introduced by John Grierson in a review of Robert
Flaherty’s Moana in the New York Sun, in February of 1926. It was derived from “documentáire”,
a term used by the French to describe travel films” (Katz, 1994: 373). Travel films were mostly
shot to remember travel memories which were lived enjoyable. They have also been documents
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of past. Some of documentary directors penetrate through yearning for past to attract the
spectator. Though emotional exploitation is not moral, many director firstly address emotional
asset of human and bring to the fore emotional themes even documentary film directors.
“Documentary film is not only recording of life but the consolation of lost values. It presents
a great number of messages about the things which people have lost in the past” (Cereci, 1998:
111). Documentary film mostly contains subjects and works which people produced within their
cultural heritage during hundreds or thousands of year. It shows what people possessed in their
past and what was valuable and what should be saved. It is a way of protecting valuables against
time. Directors of documentaries think that neither printed documents nor photographs can
protect valuables as long as a documentary can. According to them, documentary is both
practical and attractive because of its realistic characteristics.
In this sense history is need documentary film to convey its messages to next. Script of
documentary film with documents tells next generations pure realities of history and warn
people against many dangerous. In a way, documentary film also need history to provide
affective impacts on spectators via attractive components of history. Documentary film and
history two valuable components of documentation that complete each other.
People imagine fantasy but they have to live up reality. They know that imaginations will
disappear but realities are lost within the passing time. Fantasies can just be imagined and then
they vanish (Cereci, 2007: 121). Fantasies can make people happy but they have to live in
realities and have to plan their lives according to realities. To plan their lives, people mostly use
experiences of past. “Human lives in reality and yearns for what he lost. It is film of reality more
than fiction themes, documentary film” (Barsam, 1978: 83). Visions are assembled in post
production process of documentary film but realities of life can not be assembled. Documentary
film is a nonfiction film and its content covers documented realities. It just records realities and
save them for those who want to reach their past, who are interested in history. Documentary
film can not be assembled like history but it documents what people lived.
Documentary film choose usable components of history and installs them in a rational story
that is absolutely related to past of human. Humanistic approach is main axis of documentary
film that aims to convey a spiritual message to people. It especially uses spiritual dimensions of
past of people in intensive history. History is full of many warnings and inspirations for people to
move to future correctly.
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People have sorrow for their lost, even for a piece of paper or for a rod or for a place where
they lived some. They know that they will never get them again. Because of this, they try to
protect them via different ways, especially in documentary film. A documentary film records
subjects and values and all history of people before they were lost them and saves them for
future (Cereci, 2007: 122). Documentary film is interested in what was lost in past about people
and tries to recreate it for the spectator. It is usually inspired by history.
“Many spectators feel that the images which they watch in the film are plastic things which
were changed into flat pictures” (Hugo, 1992: 355). But things are real and were practiced in life
in documentary film. Things in film change into instruments which take the spectator from
present time back to past within the theme of documentary film. An aim of documentary film is
to recreate past as if it was lived one minute ago.
“A great number of spectator watch documentary as parts of others’ lives without being
aware that they are in fact parts of the documentary. Although documentary film mostly
contains realities, it is not a perfect vision of realities because of the director’s interpretations.
Documentary film is a comment which narrates a social dimension in scientific and technical
methods” (Bennet, 1981: 342). Director tries to influence the spectator through their senses
especially by using affects of past by using historical documents.
Documentary film tells real stories from lives of people and it necessarily refers history of
people because of its topic. History is a base for all topics, because it contains all materials about
accumulation of people because of its character.
“Unless someone dies, he yearns for past, and lives in nostalgic feelings, and tries to find
objects from past” (Cereci, 2007: 122). A documentary film director can understand his feelings
and appeases him by help of documentary film easily. Someone who lives in nostalgic feelings
can find what he looks for in documentary film. In a way, documentary film is a mirror of history
of people.
“Documentary film is not a rhetorical, empty, or confused category, though it is an
essentially vague one. Documentaries are filmic narratives, the images of which support the
narrative in virtue (mostly) of their being photographic representations. Putting in somewhat
loosely, in a documentary meaning passes from image to narrative, while in nondocumentary
meaning goes the other way” (Currie, 1999: 29). In this process, director of documentary usually
uses past to make a narration.
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Every documentary film has to engage directly with what the documentary is about. It has
therefore to consider the question of, for instance, health policy on AIDS, international arms
smuggling, labor relations in Japan, loneliness in the student population, the history of forensic
science of whatever else a documentary chooses as its topic. “The precise extent to which
enquiry pursues this engagement will vary with the motivation of the researchers but it will also
vary, predictably, with the kind of documentary” (Corner, 2005: 126). Consequently whatever is
chosen as topic for documentary film takes the spectator to past by pictures which reminds the
spectator their past.
5. Conclusion
Man lives in an original culture and obtains many experiences and uses his experiences to
produce and to be satisfied by stories of life but he lives in reality. Past of man is the greatest
story which contains all accumulation and all interactions and all attractions of history of man.
The main worry of man has been to survive until eternity and has been to be permanent since
the beginning. Because of people tried to record their lives and their pasts by using different
ways for thousands year.
Documentation is a popular occupation recently, because many things lose quickly and
people always look for back. History is a recorded expression of past and an evaluation of human
productions and works and help people by illuminating future. History consists of documents of
accumulation of people and documents adduct people to realities of life. In a way, history is a
summary of mankind which contains numerous good and bad situation and events.
People usually set their life and even their future on base of past because of importance of
past. Past provides people many sound materials to live in a safety life. They have many clues
and data from past and use experiences of past in their life. Because of this, they often yearn for
past and want to reach meaning of past ant try to understand it. People think that they need to
learn history because of information and experiences in history. Documentary film is a perfect
way to recreate past and tell meaning of past to people and to explain history. It often works on
topics in past because of attraction of past.
Documentary film usually uses historical or cultural topics to find attractive images because
of attraction of accumulation of people. People live and collect many materials when they live
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and evaluate their accumulation when they produce. All productions are results of a great
accumulation which was pranked by wealth of past. Documentary is the most available way to
record accumulation and products of people.
Life is a real process but metaphysics dimension of man often appears in real lives of
people. Metaphysics dimension of man can also be documented by film likewise real dimension.
Documentary film is a nonfiction genre and it never uses imagination. Documentary film always
uses realities of life and realities of past. It usually chooses topics from past of people which
contains colorful and attractive materials.
Although documentary is a kind of film, it is not film of only images, it is the film of realities
which were lived in the past or are still being lived. Documentary is primarily a nonfiction film in
spite of comment of director and a script. Director of documentary usually shoots realities which
contains valuable things and events for people. Its theme is mostly concerned with things what
people have lost in the past, in history. In a way, documentary film is a kind of history lesson in
an artistic way.
Documentary film is a way to protect historical accumulation against destruction of time by
documenting history. It can documents valuable accumulation of history and convey them to
people in an artistic way. People have many values which were consisted during thousands years
and some of them were lost. Documentary film is a resort to protect all the past and values.
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BARRA, A. (2005). “The Main Event”. AMERICAN HERITAGE. Feb/Mar 2005. Vol. 56. Issue 1. 68.
BARSAM, R. M. (1973). NONFICTION FILM. A Critical History. New York: Dutton. 8.
BENNET, T. (1981). POPULAR TELEVISION AND FILM. London, 1991. 342.
CERECI, S. (1998). DOCUMENTARY FILM. Istanbul: Sule.
CERECI, S. (2007). Documantery Film: Echo of Yearning. BROADCASTERINFO. October 2007. Vol.
45. 120-123.
CORNER, J. (2005). Form and Content Documentary Study. THE TELEVISION GENRE BOOK. Ed.
Glen CREEBER. London: British Film Institue. 125-129.
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CURRIE, G. (1999). Visible Traces: Documentary and the Contents of Photographs. THE JOURNAL
of AESTHETICS and ART CRITICISM. Vol. 57. No: 3. Summer 1999. 285-297.
ERKILIÇ, H. (2008). “Photograph and Social Life”. ARTS AND SOCIAL INTERACTION. Ed. Mukadder
Çakır Aydın. Istanbul: E Yayınları. 73-106.
GOMBRICH, E. H. (2004). THE STORY OF ART. New York: Phaidon Pres Inc. 249.
GRADY, F. (2003). Arnoldian Humanism, or Amnesia and Autobiography in the Schwarzenegger
Action Film. CINEMA JOURNAL. Vol. 42. No. 2. Winter 2003. 41-56.
GRIEVESON, L. (2004). Woof, Warp, History. CINEMA JOURNAL. Vol. 44. No. 1. Autumn 2004.
119-126.
HOUSTON, L. and TOBEY, C. (2001). Bodies of History and Historical Bodies: Baryshnikov and the
Judson Legacy. A JOURNAL of PERFORMANCE and ART. Vol. 23. No. 3. September
2001. 13-23.
HUGO, M. (1992). FILM THEORY AND CRITICISM. Ed: Gerald MAST, Marshall COHEN, Leo
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(1960). CINEMA JOURNAL. Vol. 40. No. 1. Autumn 2000. 79-103.
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CINEMA JOURNAL. Vol. 41. No. 3. Spring 2002. 78-97.
YAZAR HAKKINDA
Prof. Dr. Sedat CERECİ; İstanbul Üniversitesi Basın Yayın Yüksekokulu Gazetecilik ve Halkla
İlişkiler Bölümü’nden mezun oldu. Üniversite yıllarında başladığı gazetecilik yaşamında pek çok
günlük, haftalık, aylık gazete ve dergide muhabirlik ve redaktörlük yaptı. Yayınevlerinde editör
olarak çalıştı. İstanbul Üniversitesi Sosyal Bilimler Enstitüsü Radyo Televizyon Bilim Dalı’nda
yüksek lisans ve doktora eğitimi gördü. Klasik Türk Müziği eğitimi aldı, Türk Halk Müziği
çalışmalarına katıldı, koro yönetti, beste yaptı. TRT İstanbul Radyosu’nda müzik programları, özel
radyo kanallarında söz programları hazırladı, belgesel filmler çekti. Yüzüncü Yıl Üniversitesi’nde
öğretim üyesi olarak görev aldı, idari görevler yaptı, üniversite televizyonu için bilim ve eğitim
programları hazırladı. Reklam metinleri yazdı, reklam filmleri çekti. Çocuk programları
danışmanlığı, kültür programları koordinatörlüğü yaptı. Kişilik gelişimi ve bireyler arası iletişim
dersleri verdi. Ankara’nın doğusunda ilk belgesel film yarışmasını ve Doğu Anadolu’da bir köydeki
ilk film galasını düzenledi. Türkiye ve dünyanın pek çok yöresini dolaşarak fotoğraf çekti, sergiler
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açtı, ödüller aldı. Fotoğraf ve film yarışmalarında seçici kurul üyesi olarak görev aldı. Doğu
Anadolu’da gizli kalmış, yerel konuları, yok olmak üzere olan değerleri filmle belgeleyerek
geleceğe aktarmaya çalıştı. Filmleri uluslararası festivallerde gösterime girdi. Kongreler,
yarışmalar, bilimsel ve toplumsal etkinlikler için açılış filmleri çekti. Avrupa Birliği destekli
projelerde görev aldı, çalıştaylara katıldı. Batman Üniversitesi Rektör Yardımcılığı görevi ve
Batman Üniversitesi Güzel Sanatlar Fakültesi Dekanlık görevini üstlendi. Batman Üniversitesi’nde
7 dilde şarkılar söyleyen Çok Dilli Müzik Topluluğu’nu kurdu, 12 dilde çekilmiş filmleri kapsayan
Çok Dilli Film Şenliği’ni düzenledi. İngilizce, Almanca, Arapça bilmektedir.
Erişim: [email protected]
63
SONUÇ
Belgeleme, pek çok şeyin hızla kaybolması ve insanların geçmişi araması nedeniyle son
zamanların populer uğraşlarından biridir. Tarih, geçmişin izlenimini, insan üretimlerinin bir
değerlendirmesini ve insanların geleceğini aydınlatmak üzere geçmişi kaydetmektedir. Tarih,
insanların birikimlerinin belgeleriyle oluşmakta ve belgeler insanları yaşamın gerçeklerine
yaklaştırmaktadır.
İnsanlar yaşamlarını ve geleceklerini, geçmişin önemi nedeniyle geçmişin birikimi üzerine
kurmaktadır. Geçmiş, insanlara güvenli bir temel üzerinde yaşamları için sağlam materyaller
sağlamaktadır. İnsanlar geçmişten pek çok veri ve ipucu edinmekte ve geçmişin deneyimlerinden
yararlanmaktadır. Bu nedenle insanlar sık sık geçmişi özlemekte ve geçmişin anlamına ulaşarak
onu anlamaya çalışmaktadır. İnsanlar tarihin içindeki bilgiler ve deneyimler nedeniyle onu
öğrenmeye ihtiyaçları olduğunu düşünmektedir. Belgesel film, geçmişi yeniden kurma, geçmişin
anlamını insanlara anlatma ve tarihi açıklama konusunda yetkin bir yoldur. O genellikle, geçmişin
çekiciliği nedeniyle geçmişi konu edinmektedir.
Belgesel film bir film türü olmasına rağmen, o yalnızca görüntülerin filmi değil, insanların
geçmişte yaşadıkları ve halen yaşamaya devam ettikleri gerçeklerin filmidir. Belgesel film,
yönetmenin yorumuna ve bir metin yazarının yazdığı metne rağmen kurgusal olmayan film
olarak anılmaktadır. Belgesel film yönetmeni genellikle, insanlar için değerli şeyleri kapsayan
olayları ve gerçekleri çekmektedir. Belgesel filmin konuları genellikle, insanların geçmişte
yitrirdikleri değerlerle ilgilidir. Bir bakıma belgesel film, artistik özellikler de taşıyan bir tarih
dersidir.
Belgesel film, tarihi belgeleme yoluyla zamanın yıkıcılığına karşı bir koruma yöntemidir.
Belgesel film tarihin birikimini belgeleyebilmekte ve onu artistik bir bakışla insanlara
aktarabilmektedir. İnsanarın, binlerce yıl boyunca ürettikleri ve bazılarını yitirdikleri çok değerleri
bulunmaktadır. Belgesel film, geçmişi ve değerleri korumak için başvurulabilecek bir yoldur.
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Ankyra: Ankara Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 2009

Transkript

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